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So apparently you all like older!Wendy x Hook so here you go.

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Posting one of my old drawings again…

Edited and added few details.

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Just a heads up to my followers, I will most likely not be online for the next couple of weeks, so if you have a message in my inbox sent during that time or one I haven’t answered yet, I’m not ignoring you and will do my best to reply when I get back.

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BOOM

shy Hookie...

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Arh be our mom or somethign

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I’m still mad they never wrapped things up with Red Jessica and the boy in the Jake series. Instead, she just showed up less and less until she sort of disappeared from the show altogether. They should have given them a happy ending and given Hook a full redemption arc.

Anyway…LOVE the detail here, especially the little tiger pin in her hat as a nod to her furbaby. Also, her freckles!!

“What’s this I see? Is it the desert sun? No, it is even brighter! The sunshine of me heart: Red Jessica!” — Captain Hook

Here’s my portrait of Red Jessica from Jake and the Never Land Pirates — In this moment, Hook (or James 😌) tries to brush a curl from her eye, but she gently stops him. It’s tender, quiet…and romantic. 💘🌹

Red Jessica never treated Hook like a villain. She saw the man behind the swagger. And he, in turn, showed courage, gentleness, and real heart whenever she was around.

This romance wasn’t just cute—it was healing. It pushed Hook into antihero territory, a rare thing for a Disney villain. They’re equals. They’re magnetic. And honestly? They’re iconic.

🐅🌹 Red Jessica needs to return in future Disney projects. Whether it’s animation, comics, or even a spinoff short—give her more screentime. Let her continue being Hook’s love interest. She’s more than a guest character—she’s a catalyst for his best self.

Pirate queens deserve pirate kings. And James deserves Jessica. ⚓💋

Original post:

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The newest Disney Hook collectable has been REVEALED!!!! I saw this as a con clip posted in the Hook group I’m in on fb. TAKE MY MONEY!!! I have no idea how much he will be once he sells in public. 🤭🥰🥰🥰

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per the comment you made on the pictures of the plush dolls where Peter is wearing Hook's coat: you would love the pitch I had to direct Peter Pan at my old university. I wanted to stage it alternating Mr and Mrs Darling as Hook, and the transition from London to Neverland isn't just the kids flying away, but the Londoners going through a toy chest at the Darling house, and pulling out costume pieces--on the nights when Mrs. Darling was Hook, Mr. Darling would still put the hat out of the box first, but then she'd see it and light up, taking it from him excitedly. The toy chest never moves, and throughout the story, the kids and adults are pulling costume pieces from it, even if the actual costumes/props are held off stage.

Ah! That’s a really neat concept for the stage! I love stagings that work subtle little symbolic gestures (or gestures that could blur the line between reality and fiction) into them.

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Okay but Peter being in Hook’s clothes makes it look like he’s Hook’s son or little brother playing dress-up and that’s adorable. Also… WANT!!!

Just heard that these plushes coming soon!

These are all from Disneystore Japan and I am considering to get Captain Hook! It is 2600~2800 yen! (Hook is expensive. He is 2800 yen)

(Just in case…the link is here)

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�� TECH DEEP DIVE: Why Captain Hook’s Eyes Changed Color — Technicolor’s Limits vs. Digital Freedom (1953–2014)

Captain Hook’s eyes are a time capsule of animation tech. 📖 J.M. Barrie’s book: "Forget-me-not blue." 🎨 Disney’s Peter Pan (1953): Green in close-ups. 🎬 Sequels (Return to Never Land 2002, The Pirate Fairy 2014): Brown. This isn’t random — it’s a battle between art and analog-era limitations. Let’s geek out!

🔥 PART 1: 1953 — WHY GREEN? HOW TECHNICOLOR HELD ART HOSTAGE

Disney’s Peter Pan used three-strip Technicolor — glorious but brutally restrictive. Book-accurate blue eyes were technically impossible. Here’s why:

🖌️ THE OUTLINE NIGHTMARE

Characters’ eyes were outlined in black/dark brown for definition.

Light blue + dark outline = LOW CONTRAST. Eyes blurred into the line, losing shape (especially mid-shot).

"Dirty halo effect": When cyan (blue) dye layer printed unevenly against outlines, eyes turned murky gray or muddy purple.

GREEN SAVED IT: High contrast with black outlines kept eyes sharp at every production stage.

🕯️ CANDLELIGHT SABOTAGE

Hook’s cabin scenes used warm candlelight (yellow/orange). Technicolor amplified yellow & magenta dye layers, crushing cyan (blue).

Result for blue eyes: → Turned dull gray or sickly purple under candlelight. → Hook’s expressions (fear, rage) got lost.

GREEN’S ADVANTAGE: Green = yellow + cyan. When yellow spiked, eyes warmed to yellow-green — still recognizably green and expressive.

🧪 GREEN’S CHEMICAL SUPREMACY

Cyan & magenta dyes were chemically volatile: → Faded faster during printing/projection. → Degraded unpredictably when layered. → Created batch inconsistencies.

GREEN DYES (chrome oxide/phthalocyanine): → Extremely stable — resisted fading. → Consistent saturation across prints. → Cheaper (less wasted film = lower costs 💸).

⚙️ THE VERDICT: GREEN OR FAILURE Disney chose green because it solved all analog-era hell:

Survived outline blending.

Withstood candlelight color shifts.

Stayed chemically stable for mass printing.

Kept Hook’s eyes readable in dramatic close-ups. Book canon was sacrificed to technology.

💻 PART 2: SEQUELS (2002–2014) — WHY BROWN? DIGITAL LIBERATION

Tech advancements made eye color artistic choice, not compromise:

🖥️ Return to Never Land (2002): Digital Paint & Compositing

RGB precision: Blue could now replicate exactly — no printing distortion.

Artificial contrast: Software separated eyes from outlines/background (no need for high-contrast green).

Zero fading: Digital files don’t degrade. Chemical stability? Obsolete.

Why brown? Purely neutral choice — tech allowed any color.

🤖 The Pirate Fairy (2014): CGI Total Control

Shader parameters: Eye color = a hex code (#964B00 = brown 😉).

Dynamic rendering: Engine auto-adjusted lighting/contrast per scene. Candlelight? No problem.

Why brown? Artistic preference for young James Hook — zero technical constraints.

🚀 CONCLUSION: FROM TECHNICAL SHACKLES TO DIGITAL SOVEREIGNTY

1953 (TECHNICOLOR): Green eyes = a prisoner of chemistry and light. Without it: unreadable eyes, botched prints, higher costs.

2002+ (DIGITAL/CGI): Brown eyes = proof that tech finally serves art. All analog limits (outlines! lighting! dyes!) were erased.

Hook’s green eyes are a monument to animation’s analog struggle. His brown eyes? A trophy of the digital age.

P.S. Disney’s "canon" eye color is a mess — and that’s hilarious. 📖 Book: Blue ("forget-me-not"). 🎨 1953 film: Green (blame Technicolor + outlines + candles + chemistry!). 🎬 Sequels: Brown (thank you, digital freedom). 📺 Live-action/series: Floats between blue/brown!

HEADCANON BLUE EYES ALL YOU WANT — the book backs you! 🌊

P.P.S. 👋 FULL DISCLOSURE: I’m not an animation historian or chemist — just a nerd who fell down a research rabbit hole! 🔍 If you spot errors about Technicolor, dye stability, or Disney’s pipeline — PLEASE correct me! We all learn together. 💛

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Because I’ve been thinking a lot about George Darling lately, one of the parallels with Hook that I don’t often see discussed is the role of medicine/poison in the book (and some musical versions). Part of George’s introduction involves him pretending to take his medicine to encourage Michael to take his. This deception is followed up by his tricking Nana into drinking a bit of the medicine in her bowl, thinking it’s milk. Then we get to Hook, who tries more than once to make use of poison to kill the kids. The first time (which the book does not specify as being poison but which musical versions often do) is via trying to trick the kids into eating a cake left by the lagoon, paralleling George’s tricking Nana. The second time, Hook tries to poison Peter via his “medicine” that Wendy leaves out for him, knowing that like a good little boy, Peter will obey his mother and take the medicine…this paralleling George’s incident with the medicine with Michael in which George knows Michael will actually take his meds even if he—the adult—doesn’t.

I’m not sure exactly what is being conveyed with this particular parallel but it’s intriguing. There is likely something there about poison typically being considered a coward’s weapon (not personal, very sneaky) and George not being brave enough to take his medicine even though he expects his son to. I don’t like pointing this out, admittedly, because I love Hook and have a soft spot for George but that may have been Barrie’s intent.

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☕️ Ooh do you have any headcanons for the book versions of George and Mary Darling?

Book-George totally went to Eton and Oxford, just like Hook. He comes from old money but, frankly speaking, it’s more about keeping up appearances by the time he comes along. He realizes as he gets older how important it is to maintain that outward appearance of a decent amount of wealth even if they don’t really have it anymore. The Darlings are middle class, but solidly lower-middle class in terms of how much money they actually have. That’s why they end up with Nana instead of an actual paid nursemaid and why George is so put off by the idea of her, even if practically, he couldn’t really complain about how well the dog looks after his children. It’s also why he is so obsessive about counting down to the last cent when another child comes along to make sure they can afford it.

Mary in the book has very likely had some prior experience with Peter…or at least with some kind of supernatural fairytale character. I mean, the lady just folds up a shadow and stuffs it in a drawer like it’s no big deal. No questioning whether or not such a thing is logically possible or writing it off as some kind of prank the kids are pulling. She fully accepts that this is legit someone’s shadow. And she remembers the name Peter Pan from her own childhood and it’s said she believed in him at the time. My guess is her memories of Neverland are foggy but there’s something there. Or at least that she may have encountered Peter in the Kensington Gardens as a little girl.

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For the Peter Pan headcanons: ☕️ Mr & Mrs Darling (preferably the versions of them from the 2003 Peter Pan move)!!!

Okay, so, I actually love George Darling. I didn’t think much of the Darlings, honestly, when I was younger but the older I get and the more Hook parallels I see, the more I’ve come to have a soft spot for George.

George genuinely loves his wife and kids…he’s just not always great at knowing how to express it and is extremely self-conscious of the areas where he is lacking. He’s always been socially awkward and better with numbers than with people. It’s how he got his job at the bank. He’s brilliant when it comes to calculations. Interacting with his coworkers? Not so much… He has never been especially well-liked by the majority of his peers because of his odd quirks, but they do at least respect his abilities. Most everyone thinks he is reaching above his station when he manages to get up the courage to ask for Mary’s hand. Like most things dealing with the more subtle emotions, his proposal is awkward and fumbling and he almost turns around and walks away from the whole thing, cheeks burning with shame, when Mary interrupts him with a sweet little kiss and says, “Yes.” (She frankly finds his reaction adorable.)

While George is the one with the head for business, Mary is really the one who takes charge in the relationship. She manages not only the day to day running of the household but also keeps up with responding to letters and social appearances that George doesn’t quite have the spoons to deal with. When they first find out about Wendy, George is more anxious than Mary about her pregnancy and delivery, taking every precaution imaginable to the point it’s almost annoying. But it is sweet and Mary sees the love in his actions. (He goes through the same anxious behaviors every time another child comes along.)

He doesn’t quite know how to behave with the children and isn’t always sure he is doing the whole “father” thing right. He loves them, but he doesn’t quite know how to join in their games or pretend and isn’t good at telling stories like Mary. Sometimes his feelings of inadequacy end up resulting in him losing his temper…which he’s also very aware of and always embarrassed by in hindsight. It’s really only after nearly losing the kids that he is able to feel more comfortable in letting down the walls of what he thinks is socially appropriate for a grown man to express and just…breaks down when they come home safe and sound. He never lets a day go by without reminding them how much he loves them after that.

The Lost Boys coming home with the kids is…a bit overwhelming at first, particularly for him. His anxiety is up for awhile about what people will say about these strange new boys and how in the world this is all going to work out. Not to mention having so many young boys around his daughter! But he sees how happy Mary is and how much Wendy loves them already and realizes quickly that these uneducated boys are, in some ways, as awkward among their peers as he once was. And that gives him the confidence he needs to really fully accept them as his sons. For their part, the boys—who are really only used to adult males in their life being pirates—are not sure what to make of George. He’s so different than anything they’ve ever encountered in a grown-up. And yet…there are times when he looks eerily like Hook. But over time, the boys come to see that whatever odd and socially awkward habits he may have, he /does/ love them. And that’s enough for them.

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🪝

(Sorry I’m just now getting to this one! I took a break from tumblr for a week or two awhile back and this sort of got lost in the notifications that came in.)

The hardest thing about losing the hand—aside from being chased by the crocodile—is having to relearn how to do /everything/. For Disney Hook, I headcanon that his left hand was his dominant hand. At the time he grew up, it wasn’t really acceptable to be a leftie so fortunately, he did have practice using his right hand as well, but things came more naturally with his left…and by the time he turned pirate, he really didn’t care what anyone else thought anyway and had reverted to using primarily the left hand for writing, holding weapons, etc. Even simple things like learning how to button a shirt or tie his cravat one-handed require a lot of practice and he hates how incompetent and helpless he feels during his recovery. What really breaks his heart, though, is knowing that he’ll never be able to play certain pieces of music anymore…at least, not exactly as they were written or intended. He can switch things up a bit and make it work for most things but some music frankly just requires two working hands and ten fingers. And it /hurts/ to lose that part of who he is almost as much as the physical phantom pain he experiences.

He’s heard stories about phantom limb from other sailors before but the first time it actually happens to him, it seriously freaks him out. His mind knows the hand is long gone inside the crocodile but somehow he can still FEEL it?? Smee may or may not have slipped something in his tea to help sedate him a little after he got so worked up.

The crocodile as a constant threat doesn’t even occur to him until it takes him by surprise one day at Crocodile Creek. (He starts calling it that after the encounter.) The initial loss of the hand and subsequent crocodile attack was terrifying enough but when he realizes this is going to become a regular thing, he spirals. By chance, the crocodile gets the clock one day when Smee is flinging anything and everything he can find at the creature to make it go away. The ticking is a good warning for him, but over time, that in and of itself becomes a trigger and the longer it goes on, the worse his reaction becomes until it gets to the point that anything even remotely sounding like ticking or rhythmic clicking can trigger his panic response.

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YES!! This is the kind of content I come here for and I am SO happy to see someone flesh this out because while a lot of people seemed intrigued by the questions I was asking, nobody else has really tried to answer them. I love the concept you put forward specifically comparing Wendy and Peter to Orpheus and Eurydice. There’s just so much to explore in Peter Pan on a symbolic level and I never get tired of thinking about it.

So, here’s a question I’ve been pondering for a bit. Curious to see what input others have.

For people who take Neverland as a kind of realm of the dead, what does that mean for anyone who dies in Neverland? Is Neverland more like limbo or purgatory and then you move on to the next stage when you die? What about the ones who return to the real world? Is this a “visiting the underworld and coming back out of it alive” narrative for them? Like some of the Ancient Greek myths and such? Also, what would Neverland as a realm of the dead make Peter, Hook, Tink, the crocodile, etc.? Does the crocodile as Death/Time even make sense if Neverland itself is already a realm of the dead? Is Peter a psychopomp? I’ve seen a few retellings try and tackle this but not heard much on the academic/symbolic front.

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Hi guys I think it's time we pay more attention to Captain Hook and his girlfriend

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I realized that it says a lot about me that when I—a woman in her 30s—heard about Ozzy Osbourne’s passing yesterday, my mind immediately goes to, “Oh, yeah, he’s married to Sharon who voices Mama Hook on the Jake series.” Like um…yeah, I’m pretty sure they’re known for other things by most people…. 😂