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!!''Franchise/MastersOfTheUniverse''
BrokenAesop in this series.
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BrokenAesop in this series.
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Changed line(s) 8 (click to see context) from:
* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, [[StatusQuoIsGod since Etheria was still controlled by the Horde by the end of the show]].]]
to:
* ''WesternAnimation/SheRa'' ''WesternAnimation/SheRaPrincessOfPower'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, [[StatusQuoIsGod since Etheria was still controlled by the Horde by the end of the show]].]]
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Changed line(s) 9,10 (click to see context) from:
* ''WesternAnimation/SheRaAndThePrincessesOfPower'':
** Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
** Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
to:
* ''WesternAnimation/SheRaAndThePrincessesOfPower'':
**''WesternAnimation/SheRaAndThePrincessesOfPower'': Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
**
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Character bashing, questionable factual accuracy, insults toward the writers, lack of trope connection, and an overall sarcastic, complaining tone
Changed line(s) 10,13 (click to see context) from:
** Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]", not helped by a flashback early in season 5 that paints their friendship as [[AllTakeAndNoGive a genuinely toxic mess]] (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequence.
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to TheChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]", not helped by a flashback early in season 5 that paints their friendship as [[AllTakeAndNoGive a genuinely toxic mess]] (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequence.
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to TheChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
to:
** Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]", not helped by a flashback early in season 5 that paints their friendship as [[AllTakeAndNoGive a genuinely toxic mess]] (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequence.
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to TheChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.abused.
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]", not helped by a flashback early in season 5 that paints their friendship as [[AllTakeAndNoGive a genuinely toxic mess]] (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequence.
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to TheChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
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Changed line(s) 12 (click to see context) from:
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to the ChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
to:
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to the ChainOfHarm TheChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
Is there an issue? Send a MessageReason:
None
Changed line(s) 13 (click to see context) from:
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, Fourth, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
to:
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, Fourth, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
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Changed line(s) 11 (click to see context) from:
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]" (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequences.
to:
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]" ex]]", not helped by a flashback early in season 5 that paints their friendship as [[AllTakeAndNoGive a genuinely toxic mess]] (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequences.consequence.
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to the ChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, Fourth, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
** The above also feeds into another issue, namely that the show has a ''huge'' blind spot when it comes to what feels like fun, antagonistic flirting and what feels like abuse. Themes related to the ChainOfHarm pop up, but then the show acts like ''this'' category of Catra treating someone terribly should be considered FoeRomanceSubtext, even though usually what Catra is doing to Adora is ''worse'' than what she does to the people like Scorpia who the show mostly realises she's treating poorly.
** Adora's season 5 arc is about how she's "worth more than what she can give to other people" and deserves to make decisions based on what ''she'' wants. It's not a bad message, but the delivery has a lot of problems. [[spoiler:First, Adora left the Horde, in part, to learn about her origins and find her birth family, but because the final season had to [[StrangledByTheRedString frantically rush through about two and a half seasons' worth of relationship development]] due to pacing that ''massively'' overemphasised the "enemies" part of "enemies-to-lovers" and characterised it as a string of giant red flags into the bargain, the discovery that her birth family are most likely dead by Horde Prime's hand is given about twenty seconds of significance before Catra gets shoved back into the spotlight and Adora [[AbortedArc never actually seems to care much about it]] and is ''certainly'' never shown processing it. Second, she's not allowed to feel angry in any kind of sustained way about being harmed, exploited, abused or mistreated; this is most noticeable with Catra, who goes from BeyondRedemption in Adora's eyes to Adora being desperate to save her over the course of one conversation, but her conflict with Glimmer from the previous season is also forgotten in one sentence and never dealt with. Third, Fourth, while it is indeed not a good thing that she's had to take the Failsafe and risk dying to save the world, [[JerkassHasAPoint Shadow Weaver's not wrong that Adora is the only one with a chance to survive]]. Finally, the entire final rush to Catra's AnguishedConfessionOfLove, including her objection to Shadow Weaver's plan, is about how much Catra wants a relationship with Adora, including the confession itself; Adora's worth as an individual doesn't seem to mean anything to the climax compared to her worth as part of a relationship.]] The end result is that it ''says'' Adora is worth more than what she can give to other people, but all the script really seems to care about is what she can give to ''one specific'' other person, who by a staggering coincidence is also the CreatorsFavourite.
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Changed line(s) 8 (click to see context) from:
* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, [[StatusQuoIsGod since Etheria was still controlled by the Horde by the end of the show]].]]
to:
* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, [[StatusQuoIsGod since Etheria was still controlled by the Horde by the end of the show]].]]]]
* ''WesternAnimation/SheRaAndThePrincessesOfPower'':
** Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]" (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequences.
* ''WesternAnimation/SheRaAndThePrincessesOfPower'':
** Catra's character arc revolves around her belief that she isn't responsible for her actions and her driving everyone away with her cruelty, behaviors which stemmed from her abuse at Shadow Weaver's hands. Catra steadily gets worse until she has no one left and thinks everyone is conspiring against her, creating the message, "You can't push people away and then blame them for your messes". She is called out on it by [[spoiler:Double Trouble]] who shows Catra everyone who has ever hurt her, before saying she's the one at fault. While this was to explain Catra's failures are on her, instead it comes off as blaming her for getting abused.
** According to WordOfGod, part of the point of Catra's character was to show what happens when you're the toxic friend. This ran into two separate, but related, issues. First, Catra's behaviour in most of the show is ''way'' past "toxic friend"; her treatment of Adora for most of seasons 1-4 is closer to "[[{{Yandere}} stalker ex]]" (and that's just on the personal level; the war crimes are a whole other kettle of fish). Second, season 5 goes in ''hard'' on EasilyForgiven, with even the people Catra has wronged the most forgiving her in moments and none of her actions having much in the way of long-term consequences.
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* And another one for He-Man. The moral at the end of the episode was that violence solved nothing--this from a guy who wields a [[{{BFS}} great big sword]]. ''In that very episode,'' He-Man dukes it out with a wizard and a demon, and two dragons have at it. The good guys win, of course.
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* And another one for He-Man. The moral at the end of the episode [[note]] "The Return of Granamyr" [[/note]] was that violence solved nothing--this from a guy who wields a [[{{BFS}} great big sword]]. ''In that very episode,'' He-Man dukes it out with a wizard and a demon, and two dragons have at it. The good guys win, of course.
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* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, since Etheria was still controlled by the Horde by the end of the show.]]
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* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, [[StatusQuoIsGod since Etheria was still controlled by the Horde by the end of the show.show]].]]
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* Pretty much the whole episode "The Courage of Adam", also from the 2003 series. It implies that Adam is useless and really needs his ''alter ego'' form to be of any use. It also contradicts many subsequent lessons, about [[BeYourself being yourself]]. Adam is never allowed to develop his own, more realistic character. What we see instead is an instant of little-effort, power-gain transformation.
* ''WesternAnimation/HeManAndTheMastersOfTheUniverse1983'': The first cartoon show had another Broken Aesop, in an episode where a tribe of primitive beings manages to steal He-Man's sword and Man-At-Arms's laser blaster. After the tribe nearly kill themselves by misusing the weapons, the heroes deliver a canned speech on the dangers of weapons. The beings respond by throwing the sword and laser into a lava pit. [[SnapBack Of course, our heroes have them back by the start of the next episode]]... The Aesop apparently being "weapons are bad things, unless the right people have them".
* And another one for He-Man. The moral at the end of the episode was that violence solved nothing--this from a guy who wields a [[{{BFS}} great big sword]]. ''In that very episode,'' He-Man dukes it out with a wizard and a demon, and two dragons have at it. The good guys win, of course.
* In "Pawns of the Gamemaster" He-Man [[ThrowingYourSwordAlwaysWorks throws his sword and disarms the titular villain]]. The episode plays the villain as a cheating coward for not being willing to take He-Man on hand-to-hand. Which is supposed to be a fair fight, despite one of them being a well-trained but mortal man while the other is, as the intro reminds the viewer every time, "The most powerful man in the universe!"
* In "The Defection", there the whole thing about people not changing their ways and someone defecting from evil and people don't trust her but she actually does want to change and etcetera and so forth. Except at the beginning of the episode she says that she was once good and was just lured over to the side of evil. So, no, people can't change.
* In "Eye of the Beholder", He-Man joins forces with giant insect people and there's the aesop about not judging people by their appearance. Then after a DisneyDeath, his insect ally returns, having [[GoalOrientedEvolution "evolved" into a more human form]]. So don't judge people by their appearance, because they may actually just be normal looking people who are primitive.
* Early in "Disappearing Dragons", Orko's curiosity gets the better of him when he sees the treasure cache of the great dragon Granamyr. He opens a magic bottle and a hand pops out, pulls him in, and beats him up. The episode plot involves dragons being kidnapped to fight against each other for the entertainment of a powerful group of humanoids. At the end of the episode, Orko asks for a reward (or at least some recognition) for his part in saving the dragons. Granamyr's response is to uncap the bottle again, leaving Orko to get pulled in and smacked around again. As Orko gets beat up offscreen (and you hear him saying "OW! Stop! Let me out you big bully!"), He-Man [[EverybodyLaughsEnding jokes with Granamyr]] about how handy it would be if he had that bottle, not only condoning the act but basically stating he'd like to open a (literal) can of whoop-ass on Orko. And then the moral He-Man tells us in the very next scene? "There are no dragons in your world, but there are animals, and hurting or teasing an animal is no way to have fun", but apparently the nonhuman comic relief is fair game. Thus handily combining Broken Aesop with TakeThatScrappy, depending on your feelings towards Orko.
* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, since Etheria was still controlled by the Horde by the end of the show.]]
* ''WesternAnimation/HeManAndTheMastersOfTheUniverse1983'': The first cartoon show had another Broken Aesop, in an episode where a tribe of primitive beings manages to steal He-Man's sword and Man-At-Arms's laser blaster. After the tribe nearly kill themselves by misusing the weapons, the heroes deliver a canned speech on the dangers of weapons. The beings respond by throwing the sword and laser into a lava pit. [[SnapBack Of course, our heroes have them back by the start of the next episode]]... The Aesop apparently being "weapons are bad things, unless the right people have them".
* And another one for He-Man. The moral at the end of the episode was that violence solved nothing--this from a guy who wields a [[{{BFS}} great big sword]]. ''In that very episode,'' He-Man dukes it out with a wizard and a demon, and two dragons have at it. The good guys win, of course.
* In "Pawns of the Gamemaster" He-Man [[ThrowingYourSwordAlwaysWorks throws his sword and disarms the titular villain]]. The episode plays the villain as a cheating coward for not being willing to take He-Man on hand-to-hand. Which is supposed to be a fair fight, despite one of them being a well-trained but mortal man while the other is, as the intro reminds the viewer every time, "The most powerful man in the universe!"
* In "The Defection", there the whole thing about people not changing their ways and someone defecting from evil and people don't trust her but she actually does want to change and etcetera and so forth. Except at the beginning of the episode she says that she was once good and was just lured over to the side of evil. So, no, people can't change.
* In "Eye of the Beholder", He-Man joins forces with giant insect people and there's the aesop about not judging people by their appearance. Then after a DisneyDeath, his insect ally returns, having [[GoalOrientedEvolution "evolved" into a more human form]]. So don't judge people by their appearance, because they may actually just be normal looking people who are primitive.
* Early in "Disappearing Dragons", Orko's curiosity gets the better of him when he sees the treasure cache of the great dragon Granamyr. He opens a magic bottle and a hand pops out, pulls him in, and beats him up. The episode plot involves dragons being kidnapped to fight against each other for the entertainment of a powerful group of humanoids. At the end of the episode, Orko asks for a reward (or at least some recognition) for his part in saving the dragons. Granamyr's response is to uncap the bottle again, leaving Orko to get pulled in and smacked around again. As Orko gets beat up offscreen (and you hear him saying "OW! Stop! Let me out you big bully!"), He-Man [[EverybodyLaughsEnding jokes with Granamyr]] about how handy it would be if he had that bottle, not only condoning the act but basically stating he'd like to open a (literal) can of whoop-ass on Orko. And then the moral He-Man tells us in the very next scene? "There are no dragons in your world, but there are animals, and hurting or teasing an animal is no way to have fun", but apparently the nonhuman comic relief is fair game. Thus handily combining Broken Aesop with TakeThatScrappy, depending on your feelings towards Orko.
* ''WesternAnimation/SheRa'' often flipped flopped between "fighting solves nothing" and "you have to fight for what you believe in". Maybe the writers were just trying to cover all their bases. Maybe the titular character was a lady trying to sell action figures (Nah! That's ridiculous!). Or maybe they were saying their fight to free Etheria was futile but worth it. [[spoiler: Which would be true, since Etheria was still controlled by the Horde by the end of the show.]]
