Because the idea of the show is that they’re just doing these jobs for the first time and they’re thrust into these roles that might not be the most comfortable fit.” “I started playing D&D at about the same time I started developing She-Ra, way back in 2016, and I think a lot of that went into the way that we wrote the characters. In fact, over on the She-Ra wiki, two of the most commonly searched terms are “Which She-Ra Princess Are You” and “Which She-Ra Character is your soulmate? ” Looking back on the creation of the show, Stevenson credited her love of tabletop rpgs as a driving force behind character depth. The characters go through a lot and it’s really hard for them at times, but we try not to get too far away from the color and the brightness that is such a major part of what this franchise is.” From Paladins to Princessesįans of She-Ra often cite the relatability of the characters as one of their favorite parts of the show. She said, “We always try to keep that little heart of light in it because it is a show that is optimistic at its heart. ‘I feel sad and this is giving me a place to express that feeling so I’m ready for that when I feel sad in real life or when I feel scared in real life.’’’Īt its core, the overall tone of She-Ra remains lighthearted, however. “They’re still a safe place for kids to explore their feelings. Or made me scared,” citing The Prince of Egypt and Pooh’s Grand Adventure as two of those movies. The movies and shows I watched as a kid that I remember the most clearly are the ones that, frankly, traumatized me a little bit. When asked about that balancing act, Stevenson said “My outlook has always been that kids can handle darker, more complicated and heavier themes as long as it’s a safe place to explore those feelings.
She-Ra has taken on complex topics like war, consent and identity while being an all-ages cartoon. Regarding her own potential involvement in potential future projects connected to She-Ra, Stevenson remarked, “I guess in short, I’m open to it, but I’m proud to have made something that is self-contained and has the ending that we all wanted it to have.”Ĭontinue below for more highlights from our conversation.
But right now I really want to have this show end in a way that feels really good for everybody and then take stock from there.” There might be other books or comic books. There might be other projects in the works. That’s not to say that there isn’t anything coming. I want it to be something that really does add to the story and really does feel necessary for the characters. “I’m open to other projects related to She-Ra in the future but I want it to be for the right reason. That doesn’t mean you won’t see She-Ra in other mediums, however. One of our favorite parts about stories is how they end. You’ve seen the beginning, the middle and you’re about to see the end. “The way I see it is that this is the ending of She-Ra the way that we planned it. When asked about future She-Ra projects, Stevenson stressed the importance of bringing a story to a proper close.
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Ahead of this weekend’s release of the fifth and final season of She-Ra and the Princesses of Power on Netflix, Executive Producer and showrunner Noelle Stevenson stopped by Fandom’s new interview series Hey Fandom! and spoke about the show’s themes, major moments throughout the first four seasons, and the responsibility of writing a satisfactory ending.įilm and TV show conclusions have become controversial in the last few years, with some franchises not quite hitting the mark, and others omitting answers to important questions, saving them for supplementary material.