#catra's psychology

[spop-romanticizes-abuse]

remember that post that was like “c//a needed to be more toxic, they should have stabbed each other”?

i hate to say it but attempted murder was the least of c//a's concerns. stabbing each other would somehow be healthier than all the shit that was shoved into this trainwreck of a ship.

[sometipsygnostalgic]

Tumblr! Let me edit my own fucking reblog! I need to add more tags on that post!!!

[eliziarts]

Okay but I could go on a whole rant abt how the reason ppl often see more traits that coincide with not only autism but also personality disorders in cartoon chrs is because of the nature of the media. In children/teen focused entertainment, character traits are amplified. Their good AND bad traits are more accentuated.

Now combine that with the fact that any psychology class will tell u that personality disorders are often just larger scale feelings and traits that most people experience, but a line is drawn to say that they're SO intense that it must be classified as a disorder (psychology is dumb, a lot of psychology is literally just pseudo psychology and is based on a fucked up moral system, etc etc)

So of course people are gonna be able to project more on cartoon characters. Cartoon characters who are flawed often show multiple symptoms of certain personality disorders, neurodivergencies, etc. I think it may be worthwhile to think abt what that says abt the actual classifications and lines that are drawn in psychology in real life, and how harmful it can be, especially for ppl with cluster B personality disorders.

This also is worth talking about when discussing 'bad representation' of these neurodivergencies. For example, Catra from She-Ra is an extremely flawed character with trauma. But, due to being a cartoon character with these traits being accentuated, a lot of her behavior is similar to that of a person with BPD. Some would argue then that's it's wrong to make her an antagonist. But the things is, for the reasons stated before, many antagonists in children's cartoons are gonna have these traits. (Most cluster B personality disorders honestly which, again, shows how vilified they are culturally).

In the end though, even though Catra has these traits, and individuals with BPD may find a deep relation to her character, we have to remember this is a media that will accentuate any flaws, traits, or tendencies in characters. So we can't say 'this is bad rep' when it was never intended that way, merely a product of it's genre.

[buildingmycottage]

I saw a post here on Tumblr once that went something like "in a world where god, Jesus, and the apostles are all men, that has to do something psychologically to women" and it made me think: The Netflix version of the show "She-Ra Princess of Power" is a show that is HEAVILY women centric. We know maybe three guys in power, King Micah (who, after his return from Beast Island, wasn't *really* in power), the head sorcerer in Mystacor, Hordak/Horde Prime. (please do correct me if I am wrong) The show, albeit about princesses, has the princesses have actual roles. Even the ones that are "weak" or perceived to be weaker than the others (read: Perfuma), are extremely powerful.

The two men whom we consistently meet in the show other than Hordak, Bow and Seahawk, are not the "macho man" in most shows. Seahawk sings an entire shanty as to how lonely he is and how he just wants to be friends with Mermista, and Bow cries and even hugs frequently all the other characters in the show. Both talk about their emotions and work through them in /relatively/ healthy ways (the Dragon's Daughters 1-3 will be sorely missed). My point being, is that the women in the show are shown as strong, beautiful, muscular, fierce, sad, frustrated, loving, traumatized, hurt, laughing, and more. They all have different body shapes/ types of bodies. There are three openly gay couples: Bow's dads, Spinerella and Netossa, and Catra and Adora. Incredible! In a kids show (and adults too lets be real) there are three openly gay couples. No one treats them any different. Bow is one of 13 kids of George and Lance. No one bats an eye. In fact, according to She-Ra Wiki page (https://she-raandtheprincessesofpower.fandom.com/wiki/LGBTQIAP%2B), so many characters are queer. Besides the ones listed above: - Scorpia and Perfuma are romantically involved - Bow is Bisexual - Glimmer is Bisexual - Mermista is Bisexual - Seahawk is Bisexual (dated Falcon) - Falcon is Gay - Lonnie is Poly and Bisexual (dating Rogelio and Kyle) - by extension Rogelio and Kyle are queer - Entrapta is bi - Jewelstar is trans - Peekablue is gender non-conforming - Double Trouble is nonbinary and there is MORE In the show, as there are a ton of non humans, almost any time we meet someone, she/her pronouns are used (see episodes when Best Friend Squad are in the crimson waste). Can't you see how amazing this is? A show where there are no one-dimensional characters, women are constantly having intelligent conversation with one another, women are leaders, women working together, openly queer characters, and a beautiful plot line where there's magic???? When the princesses work together, they turn into the colors of the rainbow and their powers are enhanced. Little girls are getting to see themselves as normal. Women aren't treated as secondary citizens. Hell, almost every Bright Moon guard we see is female. How would the world be different if shows like this were the norm? Where women are able to be magical, and they aren't dressed to show off their bodies? Where women's armor actually protects them? Where they grunt and are sweating after they fight? Where womens' love wins? Why can't this be normal? (Happy Pride!)

[that-ari-blogger]

"Do you want to know a secret?" (The Portal)

I think that the rules of writing are overblown.

Don’t get me wrong, there are things you should and shouldn’t do when telling a story, but those are more guidelines than actual rules.

Case and point, She-Ra is a story predicated on repetition, which shouldn’t be as entertaining as it is. The “bad ending” is effectively another season, which is a unique premise, and a threat that the story absolutely delivers on multiple times.

But, to me at least, the story is enthralling, and keeps me coming back to it. It works, not despite its repetition, but because of it.

Although, that isn’t exactly true. I’ve described the story as cyclical before, but it isn’t entirely. It’s a spiral, because the cycle of abuse is an innately unstable dynamic, and will only end in tragedy if it isn’t broken.

If you don’t want to take my word for this, I give you the season 3 finale, The Portal, which spells out the series’ thesis in about as blunt of a way as is possible.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power, Watchmen, Batman: The Killing Joke, Superman: For The Man Who Has Everything, Justice League Unlimited)

I grew up reading Alan Moore comics, and if you don’t know who that is, I both pity you and envy you. Alan Moore is one of the most misrepresented writers of the modern age, and its entirely his own fault.

Moore is known for writing V For Vendetta, The Killing Joke, and Watchmen, all of which have a distinctly grim tone. He is one of those writers who seems to care more about the story he is telling than how much people enjoy it, and so he usually has a point to make.

Unfortunately, we end up with the Cyber Punk dilemma, in which Alan Moore’s genuinely unrivalled literary talent leads to people really enjoying his stories, which means they unintentionally miss the actual themes of those stories. In the case of Watchmen, this led to people seeing the gore and the violence and the depression and trying to replicate that.

This is where we get The Boys from, shallow sadness and spectacle. If that’s your thing, go for it, but it isn’t mine.

But I bring up Moore in a discussion of She-Ra for a reason, and that is the relentless hope inherent in his writing. In Moore’s stories, hope prevails every single time, with the only exception being extremely subjective. The Killing Joke focuses on the idea that everyone is one bad day away from becoming evil, and that gets proven wrong. Watchmen is about how small humans are and how annihilation changes people, yet the characters are able to find joy and an escape from their trauma, and show kindness to each other even when the sky almost literally falls on their heads.

The Boys isn’t very good as an adaptation of Moore’s themes (In my opinion). If you want one that actually understands the source material, watch The Incredibles, or Justice League Unlimited, or She-Ra and the Princesses of Power.

I have praised She-Ra for its animation and pacing, as well as its overarching story, but I think its greatest strength is its humanity. Characters in She-Ra are incredibly fragile, psychologically, and yet they are incredibly resilient.

Catra and Adora’s development gets methodically and efficiently destroyed by Shadow Weaver, and yet Adora becomes a hero and Catra… well, we’ll see how that works out in later seasons.

One of my favourite Moore stories is a superman story from 1985 called For The Man Who Has Everything. This was adapted into an episode of Justice League Unlimited, but I prefer the comic.

The story follows Superman being forced to live out his greatest desire. It doesn’t sound that bad, but the point is that he is kept happy and therefore out of the picture while villains can do villain things. It’s very much a story from its time, and I love it.

Interestingly, however, Superman’s dream takes him back to Krypton, where he isn’t Superman, and he is happy. He has a wife, and a son, and he never lost anything. He can spend time with his parents.

Even with the shenanigans that ensue (because this is a comic), his time in this dream is fun, and relaxing. Until he works out he’s dreaming, and has to let it go. Superman gets the choice of happiness, or duty, and he takes duty.

The scene in which he says goodbye to his “son”, who does not exist and therefore does not matter, is heartbreaking, and if I ever do comic reviews, I’m talking about this one first.

I now turn your gaze to queen Angella, from whose perspective this story is being told.

The episode actually does a bit of a bait and switch with the point of view, convincing its audience that it is about either Glimmer or Bow, and it kind of is, but not entirely.

Angella has everything she could possibly want, her daughter, her husband, her city. There is no war, there is nothing. Everything is perfect.

“This is perfect, my love, but it’s not real. I remember now. I miss you so much, but Glimmer needs my help, and I can’t stay with nothing but memories. Goodbye Micah”

Does this ring any bells?

I want to point out that this is still Catra’s hallucination, the thing that she wants. So why does she want Angella and Glimmer to be happy?

Catra wants Adora, and arguably loves her, but in an extremely dysfunctional way that says "if I can't have her, nobody can". She is petty, and fully the villain in this episode.

So, the way that she gets Adora to be hers is by ensuring that the people who accepted her would have no space for her in their lives. Why would Glimmer want to spend time with Adora? She has her father. Why would Angella accept Adora? She has her family.

What Catra doesn’t understand is that love isn’t transactional, and that these people are genuinely kind and accepting.

There's the idea of "what you are in the dark." The concept of what a person does when there are no consequences. Characters in this episode keep getting moments like this, when they know that they are fading from existence, and are given moments to show their true colours. Entrapta chooses to be grateful, Bow chooses to be reassuring, and Glimmer chooses to be emotional.

The thing that breaks people out of Catra’s reality is the unexpected. Its Catra’s lack of understanding of people that leads to those people being themselves and instinctively breaking free.

Case and point, Angella and Glimmer help Adora, and because this world was completely unprepared for that minour act of kindness, it can’t keep them contained.

Now, I know what scene you are expecting me to talk about, so I’m going to make you wait, and talk about Catra instead.

Catra is the villain of this episode. If it wasn’t for this being set in her mind, she would have zero nuance. By which I mean, everything about her as a character here is done externally, the way she acts makes her seem like a generic, abusive partner.

Because let me be clear about Catra’s actions here. This is abuse, and it is treated as such by the story. The show doesn’t make apologies for her in this episode, or try to justify it here. Subtlety be damned here, Catra is abusive.

And so, I will read her this way, for this episode. We have seen the nuance leading up to this moment, and we will see a redemption arc. But this is Catra at her lowest, and so I will put aside the past and future to examine the present and the present only. Catra is abusive.

There are two ways you could read this drop in subtlety. One, there are parts of this character that you aren’t seeing, left blank. This episode is presenting you with a character and not showing you the whole thing. Or two, this is a character who has been broken by the story, almost as if parts of her have been removed or lost. Catra is now a fragment of her former self.

I wonder if any of this is reflected in her character design.

“If you hadn’t gotten captured, your sword wouldn’t have opened the portal. If you hadn’t gotten the sword and been the world’s worst She-Ra, none of this would have happened. Admit it Adora, the world would still be standing if you had never come through that portal in the first place.”

This hurts Adora because it’s true. Ok that’s unfair, and inaccurate, but it’s not entirely wrong, and that’s the kicker.

Catra isn’t making this up, she’s just leaving out important details. Because of course, if Adora hadn’t been captured, things would have worked out better, but who was it that captured her? Who was it that made the choice to pull the switch? Who was it that destroyed the world out of spite?

Catra blames Adora for her own actions, and that is, once again, abuse. Which is why it’s so satisfying when Adora stands up for herself.

“I didn’t make you pull the switch. I didn’t make you do anything. I didn’t break the world. But I am gonna fix it.”

Hope is relentless.

But I also want to point out the claiming of agency here. Catra was weirdly insightful at the start of her monologue.

“It's always the same with you, Adora. ‘I have to do this. Oh, we have to do that.’”

Adora’s word choice is a flaw. I looked back at the past few seasons and did a word search through the scripts. I don’t think Adora uses the word “want” more than once at all up to this point.

Essentially, Catra sees things, but extrapolates exactly the wrong message from it. It’s almost as if she’s only seeing half of the world, like her vision is impaired or incomplete somehow.

I wonder if that is reflected in her character design.

In any case, Adora frequently says that she “has to” do things. “Need” is also something she says a lot, and this has the effect of making her an extremely passive character in her own story.

Like I said, this is a moment of agency, but the entire story is a story about that agency. The characters are making choices to either get out of or go along with the downward spiral that the tragic form has set out for them. Catra made the choice to follow, but Adora didn’t. Adora’s word choice makes her look like she has made no choice, but a lack of action is still a decision.

So here, when Adora declares she is “gonna fix it", she takes her agency and decides to walk in a different direction.

This reminds me of an earlier episode, that being Promise.

Hey, look at that action. Looks familiar, right?

This is the only episode I found where Adora says she wants something, although her actual wording is “I never wanted to leave you” when talking to Catra. Go figure.

The moment in question was the episode’s namesake.

“It doesn't matter what they do to us, you know? You look out for me, and I look out for you. Nothing really bad can happen as long as we have each other.” “You promise?” “I promise.”

Agency. Adora is making a decision to stay with Catra and protect her. She is knowingly choosing to do something.

It’s telling that the two most prominent times Adora has done this have been to protect people. It’s almost as if she wants to be useful, or helpful, or protective. Almost as if she wants to be wanted. It would seem Adora is just as addicted to the highs of Shadow Weaver’s programming as Catra, she just has a better support group.

Although this isn’t a full victory, she doesn’t want to save the world, she is just going to, – we still don’t know what Adora wants – this is a partial success. Hold onto that idea, it will come back later.

“Do you want to know a secret? I am a coward. I've always been the queen who stays behind. Micah was the brave one. And then Glimmer, oh, Glimmer. So much like her father. And once again I stayed behind, letting her make the hard choices, letting her be brave for me. I told myself I was being responsible, but, Adora, I was just scared. And then I met you. You inspired us. You inspired me. Not because it was your destiny, but because you never let fear stop you. And now I choose to be brave.”

Queen Angella is voiced by Reshma Shetty. She doesn’t get much praise, but for this monologue, I think she deserves so much more than she got.

In my fourth post about She-Ra, I discussed Adora’s ability to inspire and linked her to Batman, something I stand by to this day.

In universe, She-Ra isn’t important because she’s a warrior. She exists as a leader, to protect people and pull them into a greater tomorrow. She shines a light for others to follow.

That is what happens in The Portal, Adora succeeds not by fighting the enemy, but by being herself. She only becomes She-Ra to destroy the portal at the end. To save Etheria, the giant sword lady isn’t important.

I mentioned earlier that humans are fragile and resilient at the same time, and I give you Angella as evidence for that claim. Here is someone who has lost her husband, and makes decisions based on that fear and trauma. But when push comes to shove, the fear is secondary.

Reality falling apart lets directors get away with true nonsense. Micah's staff has no reason to be here, other than the fact that it makes a phenomenal metaphor for Angella's trauma. But that's all you need.

Jon Pertwee was the third doctor, and while he isn’t nearly as iconic or influential as some of his predecessors and successors, he did deliver the line that defined the whole series.

“Courage isn't just a matter of not being frightened, you know. It's being afraid and doing what you have to do anyway.”

I started my discussion of this season by claiming that this is the season in which the characters put a dent the tragic cycle, and I have mentioned several times that the cycle of abuse is unstable. So, here is my thesis.

Catra’s arc fails, not in a story sense, but in a personal one. The idea that every character has a single story arc is something is a specific bugbear of mine, and Catra is kind of my case and point for that. She has a redemption arc up to this point, and she ends up as a villain. Then the story continues and she has to start again and decide where to go next. She has no choice but to move in a different direction from here.

But she tasted redemption already. The crimson wastes gave her a taste of what she is missing, and it offered her an out. It gave her a choice, she made one, and consequences were served. I can’t help but imagine that for the entirety of the next season, she is considering running off to the wastes again.

That idea of consequences comes back with Adora, who makes a good decision, and is rewarded for it. Or rather, she makes a decision to actually do something. Adora becomes an active character, and that is what starts to break the cycle. Because now the motion is halted, and the puppets are pulling the strings.

But, this isn’t a complete victory. Angella is lost, Entrapta and Micah are still gone, none of the villains actually get defeated. For an episode with lasting consequences, not much actually happened.

This episode is big on the fact that this is all a dream, which should destroy the engagement. But it doesn’t. In reality, it preserves the status quo physically, but lets all the characters spontaneously experience character development. The victory of this season is that growth, but it came at a cost.

I want to briefly talk about that final shot, before I go, because this is how you introduce a villain. Sure, the voice acting is impeccable, and the cinematography gives an air of mystery and menace to this threat, but the showstopper is the reveal that this villain can destroy a moon with ease.

You see a fleet of ships, there was no battle here, just a villain showing off for nobody but himself. He gets interrupted by the plot, and he’s busy DESTROYING A MOON.

Horde Prime is f***ing terrifying.

This scene is in this episode too. It's meant to show how reality is falling apart, but I actually have a reading of why it's here. I think Catra wanted to preserve who Adora was, hence why she is the source of all the paradoxes. But Catra doesn't understand that Mara's legacy and Razz's teaching are a big part of Adora.

Final Thoughts

I’m going to talk about the implications for later seasons for a moment here, so if you’re avoiding spoilers, now you know.

I think Catra being the villain here makes her redemption so much more compelling, because she actually needs it. There is a difference between this and, for example, Hunter from The Owl House, who doesn’t really need redemption because he hasn’t done anything wrong.

Catra here has very much done wrong and is evil as defined by the show. But the show’s message is that anyone can change, and that the cycle of abuse isn’t set in stone.

So, Catra will redeem herself, and she will struggle, and fall back, and try again. Forgive her or not, the redemption is the effort to be better.

Next week (or whenever the next post is released, I have a terrible work schedule), I will be discussing The Coronation, so stick around if that interests you.

Previous - Next

[anti-catradora-collection]

this is honestly baffling me.

just because adora can protect herself, does that mean she can't be a victim of abuse? that she also can't have her moments of weaknesses when it's about her trauma?

⚠️ DO NOT GO AFTER AND DO NOT HARASS THE PERSON FROM THE SCREENSHOT ABOVE! thank you.

keep reading my honest opinion about it under the cut:

adora is a VICTIM. she had a panic attack because of catra. she felt useless because of catra. she was abused physically and psychologically for years.

however, we do not see adora as a "smol bean that needs to be protected". we only also see adora and recognize her as the victim she is of catra's continuous abuse, thing that most c//a stans simply can't (or refuse to) do.

adora is an absurdly strong character (we view her as such), and I don't mean that only physically. we really love and appreciate it in her.

speaking that way about us and firmly believing that we cannot recognize adora's strength is simply wrong.

stans tend to love adora for being strong in their own perception, and then proceed to ignore all the trauma she has been into. i mean, she kept trying to save the whole universe while being manipulated and abused for years, but does that even matter to them? 🤷

also, only to finish this post:

this is one of the most beloved scenes in the show for most antis. this should explain everything.

[ur-local-demon1]

Rants from a tired writer: Tragic Backstories

Dear writers and readers/viewers (depends on medium), for the love of everything please PLEASE understand how to use tragic backstories for antagonists properly!!!

An antagonist's traumatic past is an EXPLANATION for their poor behaviour, not an excuse!! That kind of backstory is here to show that it's rare for someone to do bad things just for the sake of being bad; a lot of the time, antagonists have a reason for behaving antagonistically (or you could have someone like Emperor Belos who has a reason for behaving antagonistically but also does bad things just for the sake of being bad, which is awesome).

That's why sometimes it rubs me the wrong way when fans of a certain piece of media dislike an antagonist's redemption arc just because they felt like the show was throwing them a pity party. Of course, there are times where writers are guilty of doing that, and I'm criticizing them here as well. The antagonist's traumatic past is here to humanise them, to remind the audience and characters that in spite of it all, they're still a person. In cases where the antagonist is redeemable, this can make the audience and characters sympathise with or even relate to them.

A lot of people hate her but I don't care, I'm going to use her as an example anyway: Akito Sohma is one of those redeemable villains that gets humanised through her and Tohru's shared experience of being ostracised and abandoned.

No, you're not supposed to feel bad for Akito because she cried and said she felt lonely. You're supposed to feel bad for Akito because Tohru is the first person to treat her as a human being and not as a God, as well as validating her fear of being left behind by saying that she feels the same way. + You're supposed to feel bad for Akito because she is denied the right to be herself in every single way possible, including, but not limited to, her gender.

Akito getting redeemed does not take away all the pain and trauma that still affects the members of the zodiac that she hurt. In fact, not all of them forgive Akito, and that is okay. Akito herself states that she would have been fine not being forgiven at all, she just wanted to better herself. Her apology wasn't even done through words, but actions; she could not bring herself to say "I'm sorry" to all of her family because she didn't want them to think she was apologising just to make herself feel better or to gain their forgiveness. Anyway, I love Akito so much and I will write love letters to her in my analyses every time I have the opportunity to do so, you're welcome.

However, there are times where writers really do mess up and just want you to feel bad for their poor little moral scapegoat. I have not made a She-Ra critical post in so long, but who else fits the bill more than Catra? Her traumatic past does explain her resentment and violent tendencies towards Adora, but the show lost me the second they tried to make it into an excuse. Not only that, but making Adora "leaving" Catra a central point of the tension in their relationship when Catra was given multiple chances to leave just made me want to bash my head into the nearest wall.

The big problem with Catra is that she does not change, nor is she held accountable for her actions for longer than one episode. The only thing that did change is that she does not physically abuse Adora anymore, but the verbal and psychological abuse does remain. And lastly, the viewers and characters are considered objectively wrong for not trusting or liking her even though they have legitimate reasons not to. Of course, I'm not saying that the characters are not allowed to forgive her, but forgiveness is earned not owed, and Catra has done nothing to earn it, and it would have been nice for at least one character like Adora, Entrapta, Scorpia or anyone to have said "I'm glad that you're trying to become a better person, but I don't have to be there to witness that. I wish you the best but I don't want you in my life anymore."

Well, I have said my peace. I might start posting more writing takes on here while still talking about my favourite shows/books by using them as examples, let's see how it goes! I love writing so much so I'm very glad to be able to express that on my socials :)

[scisetforever]

i just finished rewatching the whole of she ra and the princesses of power for the first time in two years and the way it emotionally destroyed me in a way that 14 year old me could never be destroyed should be illegal.

especially this year cuz i’m studying psychology the way i OBSESSIVELY analysed these characters is insane. i payed close attention to the animation as well, cuz i’m tryna teach myself how to animate.

overall my opinions on the show stay the same: catra is my wife

[testudoaubrei-blog]

So being in both the she Ra and tLT fandoms I definitely see a lot of posts about religious trauma. Which, fair. But Tasmin (Edit: Tasmyn whoa I am dumb) Muir is a practicing Catholic and Nate Stevenson is an atheist who was raised Calvinist. And in addition to tLT being arguably more in the tradition of Very Gay, very subversive Catholic art rather than a more straightforward account of trauma written by someone now 'on the outside' there is also the theological specificity to think about.

She Ra isn't just about the psychological harms of Christianity or Evangelicalism but -Calvinism specifically-. This is true of a lot of Nate's work. The rejection of total depravity in Catra's redemption of herself, of a 'good' elect and 'bad' damned in the shows consistent ambiguities/humanization of everyone, and the shows rejection of (pre)destiny in Adora and Catra's arcs are extremely anti Calvinist. And of course Horde Prime claims to be a Calvinist God (but he isn't, this acting as a proxy for the -people- who claim their abuses and oppressions are the will of God - there is no actual deity on Nate's universe, only people).

But I have no idea what is going on, religiously, in the Locked Tomb. However I suspect that while Nate, raised Calvinist, is interested in the terror of damnation, Tasmin (EDIT: Tasmyn) Muir might be exploring much more ambivalent Catholic ideas of Purgation and of course, the Harrowing of Hell. TBH while I adore Nate's cartoon theological critique I am hoping Muir gives us some Man Who Was Thursday theological what the fuckery.

Note: if you want to read more about Catra and Calvinism here is one of the most batshit posts I have written on this website. (Note this was written before Nate transitioned to Nate so it uses his former name and both genders of pronouns since that was his preference at time of writing). I treat my old posts like articles so I don't keep them continuously up to date but linking to anything that doesn't say Nate still feels odd.

[spopsalt]

Ik Rick and BoJack are random but I wanted to add on some well written characters :)

context for the character and list of some of their crimes under the cut!

Catra Applesauce Meow Meow

Definitely my most controversial pick for this list! Catra was an abused child soldier and abused her sister Adora, she was redeemed buttt her arc wasn't really...good. Her crimes: War crimes Abuse of power Corruption Reckless endangerment Psychological abuse Assault Terrorism Attempted regicide Attempted mass murder Attempted world domination Attempted cataclysm Conspiracy Mass destruction Abduction & kidnapping Unlawful imprisonment Brainwashing Theft Torture Treason Usurpation Coercion Stalking Mutilation Aiding and abetting Illegal use of weapons Espionage Crimes against peace Crimes against Etheria Altering reality (unintentional)

Next up my personal least favorite out of this list, Stolas!

Awww poor guy, forcing someone into having sex with you with holding what they need for their job over their head, his crimes took me a bit longer considering he's considered just a poor guy buttt here's a list I thought of from the top of my head: Child Neglect, Abuse of power (unsure if that's a crime) harrasment, r*pe

Next up Bojack the Horseman, Bojack the horse don't act like you don't know!

One of the more sympathetic ones, he's still an asshole but he does try to change and he is well written. He's egotistical and has a huge ego, we do get a positive implied outcome in the series finale, but it's still unclear. Here's a list of his crimes: Murder via inaction Assault Attempted murder Theft Drugging Breaking and entering Harassment Stalking Drug dealing and possession Driving under the influence Supplying alcohol to minors Corruption Sabotage Fraud Identity theft Trespassing Child endangerment Bullying Destruction of property Arson Sexual misconduct with a minor Psychological abuse

Next up my favorite, but still an awful person, Rick Sanchez!

Again, he's one of the more sympathetic ones given his past, and he is actively trying to change and does really love his grandson,the rest of his family and friends even sacrificing himself for his grandson but he is still a horrible person with a longgg list of crimes, also disclaimer ripped most of these from the villains wiki so if any info is missing or inaccurate that's why. List of crimes: Unethical experimentation Negligence Mass murder Mass genocide Mass enslavement Mass torture Mass mundicide Mass property damage Mass manslaughter Mass theoricideMass omnicide (heavily implied)Terrorism Treason Theft Trespassing Death threats Hijacking Assault and battery Psychological abuse Human trafficking Vandalism Regicide Arson Deicide Piracy Possession Hacking Kidnapping Blackmail Con artistry Drug dealing Mutilation Brainwashing Smuggling Corruption Defilement Heresy Vigilantism False imprisonment Jailbreak Sabotage Incrimination Reckless endangerment Indecent exposure Impersonation Cannibalism Aiding and abetting Disturbing the peace Child abuse Substance abuse Abuse of power Burglary War crimes Animal cruelty Forced transmutations Corpse desecrations Grand theft DUI Pollution Attempted infanticideIllicit dealings Weapons dealing Graverobbery Usurpation Public intoxication Child endangerment Evading arrest Perjury Illegal weapons development

[spop-romanticizes-abuse]

I’d been thinking, for a different outcome, what if Catra’s chip got damaged in some way, wiped her memory completely and Adora leaves her in the care of Scorpia or Razz or the like while she moves on with Glimmer and the others

it depends. if we're aiming for a redemption arc for Catra, this wouldn't exactly work because she wouldn't remember any of the stuff she did and this could result in her continuing to be toxic towards whoever she is left with. or it could result in Catra getting a clean slate and starting over. i still think that if Catra needs to redeem herself, i think she would need to acknowledge her mistakes first. otherwise, it's too easy for her. it also adds more to her trauma and she's already had enough.

she might also need the Etherian equivalent of a psychologist to help her, and given what we've seen so far, there's no one like that in the series.

[antispopausandstuff]

y'know, despite the show's attempts at wishy-washiness or the 'both parties were wrong' trope with Catra and Adora, and the fandom clearly buying it, there was still an aspect that even the writers weren't entirely willing to overlook:

that Catra made her choice.

hell, in s5, Catra literally says:

"no, she doesn't. she chose her side, i chose mine. she means nothing to me."

many times throughout the series, the show reinstates that Catra made her choices to be a bad person, to hurt and kill people, to choose destruction over restoration, and taking away the other person's choice by domineering with her own.

people can pretend that it was Adora's fault ( whether solely or 'too' ) all they wish, but the show has direct texts that Catra chose her life to get worse and worse. that no one took that decision away from her, but that she took a moral decision Adora made as a personal slight against her for no reason other than because it wasn't what she envisioned for her own future.

not her and Adora's future. her future.

Catra has made it painfully clear that what Adora actually wants never mattered to her as much as taking over the Horde and demanding respect and power. though the show caters to her Mary Sue-ness a lot, Crimson Waste is a perfect example of her demands.

rather than empathizing and trying to understand the situations of those outlaws, bandits, and ex-soldiers, Catra instead domineers by claiming that her life was so much more difficult than those who literally have to steal and fight, likely kill, to survive every single day, be adult, teen, or child.

rather than of forming compassion and respect to those around her, Catra instead mocks and patronizes people who are almost exactly like her ( Tongue Lasher ) or puts fear in them to force respect. she becomes not only like Shadow Weaver, but like Hordak as well.

the show continues showing case after case after case of Catra asserting herself in making the morally corrupt choices of supporting the source of war, committing universal genocide, committing the death of a monarch, stealing towns and civilians, all because of one person not doing exactly what she wanted.

so many stans believe that she wasn't in her best state of mind to actually make these decisions, but even if she wasn't, Catra still has literal blood on her hands, has put fear into so many people, destroyed countless lives through the crimes of war, and completely shattered Adora's concept of self through acts of severe physical, emotional, mental, and psychological abuse.

taking away her autonomy ( which is exactly what the fandom at large is doing by saying she didn't actually choose anything ) doesn't take away the fact that she is a war criminal. a remorseless war criminal.

there's only so much intention ( whether or not it's there ) can make up for. and there's no intention in the entire goddamn universe that can make up for what Catra did.

[anti-spop]

ok basically:

you are allowed to like mutually toxic pairings.

but when you claim c//a is like that, and not abusive, an imbalance of power, and you refuse to listen to ppl who are in fact abuse victims that feel uncomfortable with the pairing, that's what i have a problem with. bc c//a is NOT mutually toxic. catra is always the one abusing adora. just bc adora fights back, that doesn't make it mutually toxic. it's not like adora mercilessly tortured catra physically and psychologically.

(or y'know, adora is not a fucking abuser for standing up for herself. that is victim-blaming.)

[that-ari-blogger]

What Secrets Lie In Mystacor's Shadows?

So, it has been noted many, many times that She-Ra and the Princesses of Power is a series about trauma. And usually, this takes the form of overcoming conditioning and pre-programmed responses. But there is another aspect of the trauma that is less obvious.

Adora suffers from post-traumatic stress disorder (PTSD), not from the war or the Horde, but from Shadow Weaver. This is examined in the topic of this post, In The Shadows Of Mystacor.

Let me explain.

SPOILERS AHEAD

I'm going to start by taking a look at the bath sequence. It shows two things. One: Adora is paranoid and brings a sword to a place in which she should feel safe. Two: Shadow weaver is just messing with her.

That's what's happening here, this is how Shadow Weaver acts. Her stated motive here is bringing Adora back to the Horde, and her preferred method is psychological. She tries to scare Adora into returning, she tries to convince Glimmer and Bow that their friend is unreliable. And she tries to convince Adora that her friends are giving up on her. She's trying to isolate her prey.

Shadow Weaver doesn't have to be a physical threat to be intimidating. She's intelligent, and manipulative. Her power comes from her patience, and her drive, her understanding. She doesn't have to be present to have an impact.

"I saw her shadow on the floor"

A shadow is a reflection, of sorts. It is a sign that there is someone there, not detailed, but enough to be sure. Shadow Weaver is very much here, but its her shadow. You see the impact she has had, more than you see her.

There's even the transition at the end, as the shot of Adora fades into a much closer and larger Shadow Weaver, showing their connection and power dynamic with all the subtlety of a crocodile in a steakhouse.

Despite receiving its name in 1980, Post-traumatic Stress Disorder is one of the oldest mental health problems afflicting humanity. It is a response to fear and/or pain that is designed to avoid the same situation again.

Shakespeare famously wrote a character from Henry IV, Hotspur, with what would now be diagnosed as PTSD. There is a whole speech on it in part 1, which I highly recommend you look up. But Cambridge University, the article Shakespeare And Post-Traumatic Stress Disorder, gives another description from the bard of the phenomenon:

"Or in the night, imagining some fear, How easy is a bush supposed a bear!" (A Midsummer Night's Dream)

In essence, PTSD has many forms and symptoms, but most revolve around sensory processing and instinctual reactions.

Notice how Adora shows both in this episode. She mistrusts her senses about Shadow Weaver, and immediately goes into a fighting position when snuck up on by Glimmer and Bow.

The point I am making is that this is an episode about Shadow Weaver as much as it is about Adora, and a lot about her can be inferred from Adora's reactions to everything.

"Pull it together, Adora. There's no way shadow weaver can be here."

Again, notice how Adora's shadow is the spy, the influence. Again, Shadow weaver is here, not in person, but through Adora's trauma.

The most stressful scene in this episode is Adora, alone, in a room, taunted by her own thoughts, or rather, thoughts Shadow Weaver has put in her head.

It is almost more comforting when we finally see Shadow Weaver. She becomes a tangible problem, one Adora can talk to, one Adora can physically fight.

I've mentioned Shadow Weaver's shadows before in how they frame a shot, but that was in relation to Catra, notice the difference in how they interact with Adora. With Catra, the shadows cover her up, and corrupt her, they look painful, like claws that scratch specifically at her eyes. With Adora, the shadows encircle her, they compress her, they trap here. The imagery in this shot is reminiscent, at least to me, of fingers clasping shut around Adora to reach for her and grasp her, to control her.

"I could give you Etheria, we could rule the world together."

Here we finally get Shadow Weaver's actual motivation. She doesn't align herself with any faction, she wants control. She offers Adora the world not out of benevolence, but because Adora is the one who can give the world to Shadow Weaver, and all she has to do is manipulate Adora's perceptions to get what she wants.

I do not like Shadow Weaver.

Previous - Next

[fandom-fluff-of-the-day]

Today's Fluff is Catradora. I'm such a fucking sucker for gay love. But I'm an even bigger sucker for this exact trope. Two damaged souls, psychologically manipulated, ab*sed, and dragged through a war. One of them realizes they've been on the wrong side and this causes a massive divide between the two. Shit goes badly. People get held accountable for their actions but are still forgiven once they show they will change. They don't just accept Catra. They make her earn their trust and respect. Over and over and over again. So anyone who thinks the message was "You can do whatever you want as long as you're gay and in love" go fucking touch grass.

Don't even get me started on Shadow Weaver's sacrifice and how it always brings me to gasping sobs because my abuser/the person who raised me would fucking never do the same and somehow it's all I want from her.

[fruitsofhell]

After finishing She-Ra 2018 I'm trying to work on my unified theory for why CatDora bothers me as the endgame ship. Cause as CEO of mentally ill cartoon women, there's something about it that feels a disservice to Catra's psychology and trauma. She is genuinely such an interesting character to watch because they so clearly lay out the abusive dynamic that informs her entire character, but by the kiss, I feel like they lost steam with it.

The biggest thing to me is the simple fact that Adora is basically a trigger for her. Adora's personality as someone who is constantly self-sacrificing and forgiving is something Catra has a deep hatred for because she believes she is worthless and unforgivable, and when people try to help her she feels they're using her to look better while she fails to get better.

The fact that ADORA herself was the one in that original dynamic that traumatized the hell out of her makes me uncomfortable with how Catra eventually just... stops getting set off by things. I just can't imagine how what happened leading up to their kiss would desensitize Catra enough to that trauma response that she'd be in love with her. Like in that same season she was fucking death gripping the table at hearing Adora's name, and in seasons earlier she straight up like dissociated when people brought up her heroics. Not only the unearned healing, but the "I've loved you all along" feels a bit patronizing to her past. That all her emotionality was complicated romantic feelings, and not... having really nasty childhood trauma.