{"id":2377,"date":"2021-07-27T15:58:21","date_gmt":"2021-07-27T13:58:21","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-masters-of-the-universe-revelation-first-5-episodesnetflix\/"},"modified":"2026-03-21T19:04:02","modified_gmt":"2026-03-21T18:04:02","slug":"review-masters-of-the-universe-revelation-first-5-episodesnetflix","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-masters-of-the-universe-revelation-first-5-episodesnetflix\/","title":{"rendered":"Review: Masters of the Universe – Revelation (First 5 Episodes)(Netflix)"},"content":{"rendered":"

In my youth, television access was limited to TV 1<\/strong> and Kanal 2<\/strong> (now SVT 1 and 2). Animated content was primarily confined to annual specials like Kalle Anka’s Julafton<\/strong> (Donald Duck’s Christmas) and a few modestly well-animated series such as Dr. Snuggles<\/strong>, and the less impressive Dr. Baltazar<\/strong>. The introduction of cable television in the mid-80s revolutionized viewing habits. It was then that I first encountered animated films and series like The Real Ghostbusters<\/strong>, G.I. Joe<\/strong>, Thundercats<\/strong>, and He-Man and the Masters of the Universe<\/strong>. The content was entirely in English, which fueled a strong desire to learn the language to fully comprehend the narratives. Subtitles and dubbing were absent on these foreign channels. While He-Man<\/em> wasn’t necessarily a personal favorite, I owned numerous associated toys that saw frequent use.<\/p>\n

\"Masters<\/a>
Photo: \u00a9Netflix<\/figcaption><\/figure>\n

Several years ago, I listened to Kevin Smith’s<\/strong> podcast, Fatman on Batman<\/strong> (now known as Fatman Beyond<\/strong>). He mentioned his involvement in writing and developing a new He-Man<\/strong> series for Netflix<\/strong>, which piqued my interest. Upon the release of the initial teaser trailer<\/a> a month or so ago, I was immediately impressed. It appeared to be a dynamic, fast-paced, and creatively ambitious project. The production quality seemed high, and the voice cast was exceptional, featuring Mark Hamill<\/strong> as Skeletor<\/strong>, a particularly inspired casting choice. His vocal performance in the trailer was instantly captivating. Moreover, the fact that the first five episodes were scheduled to premiere on my birthday further heightened my anticipation.<\/p>\n

For the uninitiated, I must issue a spoiler alert<\/strong><\/em>. Netflix’s Master of the Universe – Revelation<\/strong> deviates significantly from the animated He-Man series suggested by the trailer. The core issue lies in the misalignment of expectations. The promotional material led me to anticipate one experience, while the actual content delivered another. This does not inherently make the series bad, but it’s important to acknowledge that it’s a departure from what was advertised. Had the promotional material accurately reflected the series’ direction, the disconnect would have been less pronounced. Instead of lighthearted action and humor, the series delves into themes of anguish, anger, betrayal, and sudden violence. This approach could have been compelling had it been transparent from the outset. Contrary to expectations, He-Man and Skeletor are not the central figures; the narrative primarily focuses on Teela and her friend Andra, at least within these initial five episodes.<\/p>\n

\"Masters<\/a>
Photo: \u00a9Netflix<\/figcaption><\/figure>\n

Beyond the divergence in tone and narrative, several other elements warrant attention. The series incorporates an ambiguous time jump, the exact placement of which is difficult to ascertain. Furthermore, when characters encounter individuals who have been absent for extended periods, their interactions often revolve around trivial disagreements that seem incongruous with the gravity of the situation.<\/p>\n

Despite these narrative choices, the performances and production values are commendable, with top-tier animation. The character designs are faithful to their original depictions, and numerous toys from the original line are represented (likely reflecting Mattel’s intent to capitalize on renewed interest). While many of these toys originated from the toy line and not the original series, they contribute to the nostalgic appeal. However, this nostalgia is somewhat overshadowed by the disparity between the series’ actual content and the tone conveyed in the promotional materials.<\/p>\n

The internet is currently rife with criticism regarding perceived misdirection from Kevin Smith. Given that the series is presented in two parts, my assessment is limited to the first five episodes. There is potential for the series to improve significantly, potentially leading to a reassessment from disgruntled viewers. Conversely, it could exacerbate existing criticisms and further fuel negative reactions.<\/p>\n

I assign a provisional mid-range score to these initial episodes, reflecting the series’ uncertain trajectory. The decisions made by Mattel and the creative team will be crucial in determining whether the series ultimately satisfies both long-time fans and newcomers.<\/p>\n

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