[4] In the first season, Adora helps reassemble the Princess Alliance, which successfully defends the rebel stronghold of Bright Moon against the Horde's assault.

In order to prevent the weapon from activating, Adora destroys her sword, losing access to her She-Ra powers, but not before Etheria is pulled through a portal, becoming vulnerable to attack by Horde Prime's armada.

In the end, it is Adora and Catra's love for each other that enables She-Ra to destroy both the weapon and Horde Prime, and save the universe from his tyrannical reign.

[16] Reviewers particularly highlighted the convincing portrayal of the anti-hero Catra and her complicated "frenemy" relationship with Adora,[14][17] which The Verge described as "the best animated antihero story since Avatar: The Last Airbender's Zuko".

[18] In addition, the series addresses such themes as abusive relationships and overcoming trauma,[19] prejudice, isolationism (as exemplified, initially, by the princesses), colonization, imperialism, and genocide (a result of Hordak's planetary-scale warfare).

[16] There is a strong focus on the struggle to break free of sociopolitical indoctrination, explored mainly through the stories of Adora, Hordak, and Light Hope.

Finally, Horde Prime's regime in Season 5 contains elements reminiscent of fundamentalist Christianity, which Stevenson has noted are not meant to be criticisms of religion itself but rather the kind of leadership seen in extremist, cult-like organizations.

"[36] The relationship between Adora and Catra has subtextual undercurrents of romantic tension from the beginning of the series,[14][37][38] and concludes with a mutual confession of love and an on-screen kiss in the very last episode.

"[49] Scorpia also mentions that the Horde soldier Kyle has a crush on his coworker, a humanoid lizard man named Rogelio, and ND Stevenson once tweeted that he envisions the two in a polyamorous relationship that involves their cohort Lonnie.

[50] Adora's mentor Light Hope is a female artificial intelligence who, while generally devoid of emotion, felt genuine affection for the woman Mara.

The principal voice cast includes Aimee Carrero as She-Ra, AJ Michalka as Catra, Karen Fukuhara as Glimmer, and Marcus Scribner as Bow.

[59] J. Michael Straczynski, the co-creator of the original series, commented that his She-Ra was written as "a warrior, first and foremost", and that "anyone who is looking back at [her] as the 'ideal woman' is doing so through the lens of prepubescent ... interest and kind of, understandably, imprinted on her like baby ducks.

She aimed at creating a "contemporary '80s synth-sound combined with orchestral adventure", based on the creators' desire to feature "big and epic" but also "sparkly" music.

"[73] Some stated that the series had a lot in common with shows such as Avatar: The Last Airbender, Steven Universe and Sailor Moon, including characters who "read fluidly on the gender and sexuality spectrum.

"[75] Entertainment Weekly's Darren Franich described the series as "a funny-wonderful pop fantasy animated like disco fireworks, fun for kids of all genders and any parents looking for something happy to cry about".

He found some of the tension in contemporary American politics reflected in the series' portrayal of the rebuilding of a "coalition of powerful liberal-minded thinkers left in disarray after a brutal defeat years ago by a monstrously all-consuming bad dude".

[76] David Griffin at IGN praised the series for successfully rebooting the franchise but concluded that "Adora could have used more time with the Horde to help develop her character".

[77] Hypable praised the series' diversity and the multifaceted relationships among some of its core characters, but found much of the first season's plot "simplistic", and the rotating cast of princesses given short shrift.

[78][better source needed] The Washington Post highlighted the "top-notch" voice cast and particularly the work of Lorraine Toussaint as the sorceress Shadow Weaver.

[18] Tor.com's Maya Gittleman stated that the show not only "queers fantasy archetypes" but has a "deliberately inclusive, [and] diverse cast," works to highlight "different means of expressing power," and have room for "an expansive exploration of femininity."

[83] The Mary Sue stated that the show's final season hammers home the message of love, compassion, and strength, even with an emphasis on forgiveness and allowing those who wish to be redeemed the space to change, like Steven Universe.

Club said that the sendoff of the series is satisfying, with Catra portrayed as a victim of trauma, with the message that nothing can overpower "the collective power of friendship, love, and solid storytelling.

"[85] PinkNews called the final season "packed with big queer energy"[86] while Digital Spy said that the kiss between Adora and Catra would change TV forever.

"[87] Tracy Brown of the Los Angeles Times said that the show lets all kids, especially those who are queer, realize that "being honest about their feelings can make them a hero is as exciting as it is important.

"[88] Emmet Asher-Perrin on Tor.com, in their review, argued that Catra has an inferiority complex like Loki in the Marvel Cinematic Universe films and the current incarnation of The Master in the Doctor Who series.

[105] In a New York Times profile on July 21, 2020, climate activist Jamie Margolin said she watched all five seasons of the show over a three-day period, telling the interview, "I was like, I hate the real world.

[107] Diana Burgos argued that the series, like The Legend of Korra and Sailor Moon, provides a roadmap to audiences which are navigating through the "coded systems of gender and sexuality that poison their narratives."

Burgos further stated that these three series urge audiences to claim their agency within "our collective unconscious and the liminal digital spaces of our social networks.