#Because we literally only see him make a misstep right at the inception and that Casper and Nova imply this was a continuous pattern

[trevanent]

I think one thing I will say about the finale was that the most problematic aspect of the concept of the show was how it feels like they had to use the Fionna and Cake plot to Trojan horse a resolution to a swathe of loose ends Simon and Betty's arcs had. They pulled it off even better than I ever wanted to let myself hope for for the most part but I would say my main issue if anything was how cramped the finale felt when I think they could have left a lot more up to season 2 speculations (especially with the resolutions for the alt universes, they didn't really feel necessary when they basically just had to egg Scarab).

I feel I liked the understated melancholies of seeing Simon recontextualized and kinda infantilized in that temporary form hosting his mind, and some people have said the Casper and Nova thing felt hamfisted but I thought the vibes were too cute to care that it wasn't particularly "efficient" as far as metaphors go, but that does slow down the pace which probably crunched the ending a little harder :'). But it also worked in further showing the sad side-effect of the crown on Simon's relationships, including that of stunting his ability to have ever matured in his understandings of love and his relationship with Betty. I also think their last scene in the memory worked because it was Simon reconsidering how he viewed their relationship for the first time, even if his attempt to do for Betty what she did for him would have just been an inversion of their original flaw, the scene rests on them understanding it's unchangeable anyway, so that decision doesn't matter so much and it's not something for Simon to dwell on.

I also feel I liked the scene a lot in spite of how scarce it felt in the finale was because of what was most conspicuously unaddressed, which was just the sheer logistical impossibility of any different choices they made having possibly been any "better." It sticks out because Betty says they could have made better choices, which kinda seems to situate their relationship in a vacuum as if there wasn't a very high likelihood had they done anything different at that crossroads, they would have just been literally nuked into orbit regardless. Sure, it seems like enough time had passed for them to have worked out their relationship better at least and then died, but that kinda seems better by an arbitrarily less tragic amount, and really it seems the least tragic possibilities ever were either that they conceive their relationship more healthily, Simon finds the crown and protects Betty from exploding somehow and also doesn't warp her to the future, and they live some terrible survival life but at least they get a chance to live something kinda fulfilling and Betty probably would have taken care of Ice King decently for the remainder of her life once Simon was gone while also having a better understanding of what had happened to him. The only other hand would be that she also was still warped to the future he finds the crown but Simon had not enabled her self-sacrificial tendencies and so she becomes less undividedly obsessed with saving him and instead integrates into Ooo more properly and also accepts what had become of him (I find it hard to think she would have just let him die either way though lmao).

That all said, they had been around a long time to have reflected over everything. I think it is a bit of an issue that they don't really allude to that, but I find it easy to believe that they did recognize how thwarted a happy ending would ever be for them by all angles of their reality, yet they still had that tender ache of that simple and small tragedy just between them two that still exists within the torrent of catastrophe that engulfed them and the breadth of their fate. So much horror in their lives but they reconnect and find themselves primarily concerned with that last regret of not having been able to make the ideal relationship they quite thought they had.

[theonceoverthinker]

OUAT 2X13 - Tiny

Hey, reader! Your TINY-ing couldn’t be better to check out my latest review! XD

Yeah, not my best pun, but it’s not too GIANT of a misstep! XD

COMEBACK!

Now go under the cut and read my review!

Press Release

Kidnapped and brought to Storybrooke by Cora, the Giant unleashes his vengeance on the town when a case of mistaken identity leads him to try and settle an old score with David; Mr. Gold, accompanied by Emma and Henry, attempts to depart Storybrooke - hoping to keep his memory intact when he crosses the town line – and heads to the airport in search of his son Bae; and Greg (Ethan Embry) questions Belle as to what she saw on the night of his car accident. Meanwhile, in the fairytale land that was and against his brothers’ wishes, Anton, the Giant, climbs down the beanstalk and attempts to befriend some humans - whose intentions may not be so noble. General Thoughts - Characters/Stories/Themes and Their Effectiveness Past I really like the conflict in this episode and how it relates to the present later on. We clearly know the outcome of Anton’s voyage to the human world, but Anton never feels like he’s being foolish in this flashback. Anton’s research, kind heart, and inquisitive nature are not being satisfied (And as often implied, even mocked and bullied) by his siblings. But, in that same token, they are not completely cast as bad either. Anton clearly cares for them, and his oldest sibling is shown to be wise in many ways and it’s his lesson of seeking another land that proves to be the key to Anton’s eventual happiness and livelihood in the present.

James’ and Jack’s plan is a great one. That plotting is devious. The staging of it all was well done enough that it doesn’t feel contrived, but understanding of the kind of person Anton is and malleable enough account for missteps. Just go back and watch the bar scene. James has his outburst at the guard just loud enough so that Anton hears him, and of course, Anton, the curious guy that he is, would ask about why. Jack just happens to bring up the subject of beans and while Anton can’t help her in that regard, what else are giants known for? Their treasure, something Anton can be far more generous with. And give him enough motivation and he’ll go right over there with the bare minimum security. It’s honestly one of the best and most underrated evil plans on the show. It’s simple, but intelligently suited to its victim. Present I love the Storybrooke section of this episode! Anton, while the antagonist in this segment to David’s protagonist story, is never made to be a bad guy because the entire time we’re with him attacking, we’re aware of his plight. Because of that, we want him to pull through and get along with everyone and the episode gives that emotional payoff while still ensuring that Anton does learn his lesson about humans. David is in his best form throughout the episode, kind and compassionate but not without his limits and Snow acts as a great source of support and friendship while Leroy rounds out the trio with his comedy and everyman presence in town (And later on, surprising amount of heart).

It’s so great to see the people of Storybrooke acting as a unit again during the rescue and aftermath of Anton. It reminds me of the efforts made in episodes like “A Still Small Voice” and it fits into the story well as a bulk of humans are able to prove themselves to Anton at once.

Also, let’s talk about the airport scenes, but it helps make this episode so memorable. The security scene is both so hysterical at first and so tense and terrifying once the shawl comes off, even after the safe resolution. That having been said, I will say, I wish things were a little bit clearer as to why Rumple was freaking out even after he retained his memories. I can’t help but feel like they were almost going to go for a different angle like actually having Rumple at one point revert to his cursed self (Note how Rumple places so much emphasis on how important it was for him to keep his true identity), but it was abandoned. Otherwise, what was the purpose of the freakouts because we only got a few seconds of waviness as he was crossing through security before getting the shawl back? I like the idea of Rumple freaking out over not having his magic for the first time since the curse broke and realizing that his mortality is back, but what brought it on and how it was handled was weird. All Encompassing This segment is also notable in the fact that not only is it Anton’s first and only centric, but it is the first time that we really see the distinctions between David and James. Before, we saw a bit of James before his death, but while bits of him can be understood with the aid of hindsight, but this is where the character was truly defined for the first time. Whereas David so often acts for the betterment of his people and even those who oppose him (to the point where he attempts to sacrifice himself for Storybrooke’s safety and then later endangers himself for Anton’s sake), James is only interested in himself and won’t lift so much as a finger to help someone if it puts him in danger. Insights - Stream of Consciousness -”I think layers are always a good idea!” Nice subtle showing of Mama Swan! -I don’t know why, but it cracks me up how Rumple’s covering the expenses of their trip! XD Charming summed it up best: “You’re a real gentleman, aren’t you?” -”This isn’t a threat, it’s a request. Take care of them.” Aww! I love that extra bit of Sheep Bros! And Rumple actually responds to it! -I like also how Rumple’s being much more overt to Emma and co about who it is he’s looking for. I’m going to call that a slight development in his emotional honesty. -David, I am with Snow. That holster looks great on you! -Regina needs to join the Storybrooke acting troupe alongside Killian, Cora, and Rumple. Actually, someone make a fic out of this! Please? -”And we’re sorry.” I love how Snow completely follows through on her resolve from the previous episode. -First Captain Charming scene! Yayyyyy!! Honestly, it’s just as perfect as I’d hoped it would be! -Not gonna lie, I don’t even think it’s a shipping thing, but seeing Killian flirt with Snow like he does by the cops doesn’t flow with me at all. It’s just creepy, and I feel bad saying that, but it just is for me. -I never realized before that The Jolly Roger is made from Enchanted Wood. That’s pretty cool! -Anton is an adorable little bean! -I just realized: Now that the realms are merged, is Anton essentially out of a job, or are the beans the equivalent of teleportation now? Like, if I want to visit Elsa from Granny’s, can I just throw a bean and be right there? And if so, then Anton is now a multi-millionaire and I just couldn’t be happier for the guy! -Watching this flashback makes me hate the flashback in “Flower Child” so forking much. Everything that is done wrong there is done right here. -Holy shirt! Anton can punch! Like, get him on the main team! -The set up of the mystery of why Anton hates David is a very well done one for as brief as it is. It gives the audience a moment to establish how Emma’s actions have shown Anton that some humans aren’t evil as well as the fact that Anton isn’t a bad guy, but showing a clear snapping point for him. -Red Beauty! Yayyyyyy! -Hospital staff: It’s probably not a great idea to have “Good Morning Storybrooke” playing when you have two patients who aren’t supposed to know about magic. -Awww! Ruby loves books too, and reads from Belle’s favorite author! She’s just too sweet! -”Why does everyone keep calling me that?” ...Because it’s your name and you haven’t said anything along the lines of “my name is Lacey.” Introduce yourself! -James just has no shame! He’s about to have sex, his dad comes in, and he’s practically about to continue on! -I feel so bad for Anton! He so has a crush on Jack, and Jack’s just...well, not the worst, but definitely in the top 50 worst. -”How terribly uncivilized.” Rumple, you used to live in a world without indoor plumbing. You’re one to talk! -”Have you ever been on a plane before?” Have you ever been impaled upon a cane before?” That is forking hysterical and will never not be! XD -”You father?” Rumple, you are close to a century older than Emma! Yeah, you could be her dad! XD -Has anyone ever commented on how there’s literally no reason for the shawl to go into the bin. It’s not metal. Am I missing something here? -I want that roasted pig so badly! -”You’re human. I hate humans.” Part of me is thrown a little off base with this line. On one hand, Anton does what humans, but when David, Snow, and Leroy found him, he was more relaxed. However, I’m willing to waive it off to him getting his bearings upon waking up in a strange land. -Oh, shirt! Rumple can’t heal himself! BLOODY HELL! XD -That light is so unflattering for Robert right in the bathroom scene. -The entire conversation between Anton, David, and Snow concerning Emma and James is hysterical. As far as miscommunication scenarios go on this show, this is one of the best. And the follow up conversation between David, Snow, and Leroy over David’s name is equally so! XD -Don’t worry, Anton! Just HOLE-d on! XD -Awww! Look at Anton learning how to use a pickaxe! Anton, never change! Arcs - How are These Storylines Progressing? Regina’s Redemption - It is so hard to watch as Regina double crosses everyone in this episode. I don’t think it’s poorly done, and MM and David’s lines about not needing Regina’s say about Henry make the betrayal a well set up ad effective one. It builds well off of the last couple of episodes and while a touch accelerated around this part, I do think that the overall pacing works here. The People of Storybrooke Going Home - So this arc was really introduced during “The Cricket Game,” I believe. So far, I’m not sure how well it’s being set up, but I will say that this is the clearest the the arc itself has been defined since its inception. Favorite Dynamic David and Anton - David’s interactions with Anton are a true testament to his kindness and leadership abilities. Anton punches him in the face and refuses to cooperate with any attempts David makes to reason with him and yet David simply doesn’t give up on helping him the right way because of who he is. Additionally, how he rallies the entire town together for that same cause is inspiring. He knows the damage his “father” did and he wants those affected by him in any way (even through his progeny) to be helped, no matter what it takes. And on Anton’s side, just like with Emma, he’s receptive to that kindness and the belief in David doesn’t come from just simple information or evidence, but from David’s straight-up actions of offering himself up as a sacrifice and later saving him, and that’s so amazing! Writer Christine Boylan and Kalinda Vazquez are “Tiny’s” writers, and this is a great team up. The pacing of this episode feels very good, moving so that things aren’t rushed, but the stories remain flowing. Additionally, the framing of the writing is quite intricate, careful to not make anyone a bad guy but to also direct the sympathy where it is deserved. Additionally, the manner of Anton’s forgiveness (Both to him and from him) is expertly handled through the actions of the entire town saving Anton from the hole and him helping everyone grow beans. Rating 10/10. I love this episode’s story. Anton is a likable and layered character to follow and his journey with Ruth’s twins across the two timelines is equally layered. The story itself is very lowkey in comparison to some of our previous episodes, and it’s a welcome change of pace! It’s a super simple, yet quite detailed character story that allows for a lot to be done with James, Snow, Charming, and Leroy’s characters. Seeing all of these characters build off one another is what Once Upon a Time does best and the hearty story makes it all the better. While I didn’t find the storytelling at the airport to be as airtight (pun always intended) as the other segments (Ergo, why this isn’t a Golden Apple), the scenes on their own can be super entertaining (Especially EVERYTHING with Rumple in the first half of the security scene). Flip My Ship - Home of All Things “Shippy Goodness” Snowing - It’s just really nice seeing Snow and David working together! They’re so supportive and protective of each other, ranging from hugs to verbally helping each other during discussions with Anton, Hook, and each other over the differences between David and James. Snow and Charming are always expressing their love in some way, and it’s so subtly heartwarming. And hearing Snow talk about how she had fun today and missed their little adventures as she dances around him and the sidewalk is just great! Grumpy Giant - Freakin’ hollythecurious got me into the swing of this ship, and I love it and her for introducing it to me! XD Look at Grumpy’s adoring looks as he helps Anton get settled in to life in Storybrooke and how forward he is with his assistance. This is Grumpy we’re talking about and he’s rarely as likely to take the initiative in regards to introducing people to the town. And dammit, it’s so cute! Hell, he even moves the dwarves’ entire workforce to help Anton grow beans and calls them “our crop!” ()()()()()()()()() Thanks for reading and to the fine and fantastic folks at @watchingfairytales for their continued support and the project!

Wow! this season’s going great, but wow am I tired! Writing these long ash reviews is exhausting! You know what I could use? A drink. How about a Manhattan? ;)

See you next time.

Season 2 Tally (114/220) Writer Tally for Season 2: Adam Horowitz and Edward Kitsis: (29/60) Jane Espenson (25/50) Andrew Chambliss and Ian Goldberg (24/50) David Goodman (16/30) Robert Hull (16/30) Christine Boylan (17/30) Kalinda Vazquez (20/30) Daniel Thomsen (10/20)

Operation Rewatch Archives

[dippedanddripped]

Mayhem. That's really the only way people were able to accurately describe the party for Fendi's launch of their millennial-focused digital platform "F...is for Fendi" back in February. For a night that was supposed to be a fun-filled fashion event at a secret New York City location fueled by the sounds of Metro Boomin, 21 Savage and Migos, it ended in moshpits, bloodshed, fist-fights and (allegedly) with weapons being pulled. Mix an old-school industry that has become known for its ignorance of racial issues and lack of diversity with a youth culture that thrives on those very same issues, and you're likely going to run into a few snafus on how to handle settings such as said Fendi party, with rap artists that have tons of young fans ready to wild out. Hip-hop, as much as it has tried to, has never been the perfect fit for fashion, but now the issue is being forced — and it's not turning out as promising as both sides had hoped.

Hip-hop is one of those cultural movements that isn't simply a movement. It can literally build communities or, as some people have generalized, cause bloodshed. In the right hands, it can become something that unifies and symbolizes hope, happiness and ebullience. But, in others, it can be made a mockery of. There's a very thin line, and it isn't black or white. Many times, it's green.

Seemingly every label on the market has profited off of hip-hop over the past few seasons. Louis Vuitton went from sending cease and desist letters in 2000 for illegal use of their famous monogram print to Supreme — the same brand that hip-hop heads who want to look like skaters (and skaters who want to look like hip-hop heads) love — to collaborating on the most anticipated collection in years. In early 2016, Vetements dropped a $900 T-shirt featuring Snoop Dogg that was almost an exact replica of one that Death Row released for his "Beware of the Dogg" tour merch. One can't help but wonder: How many people who bought that reinterpreted shirt, one that sold out everywhere despite the high cost, know any songs off of "Doggystyle" outside "Who Am I?" and "Gin and Juice?"

Photo: @kyliejenner/Twitter

However, no one did quite as well as Gucci. The Italian house had a banner year in 2016, monetarily and popularity-speaking, and much of that can be attributed to Alessandro Michele's wholehearted embrace of hip-hop and bootleg culture. Gucci was already a hip-hop favorite, but the intersection between what rappers and their entourages were wearing and how luxury brands were interpreting it was coming to an apex. The hip-hop style landscape was changing so much, it allowed for more tailored clothing with bombastic designs to really overtake some of the more generalized "rapper fashion" of yore.

This is why Michele took a page out of hip-hop fashion knockoff pioneer Daniel "Dapper Dan" Day's book with a Cruise 2018 collection runway look, featuring a puffy-sleeved mink jacket with double-G monograms a la Day's famous counterfeit (yet fabulous) piece from the '80s. Appropriation or homage, people asked? That's no matter: As of September, Dapper Dan is now a bonafide Gucci collaborator, as well as the face of the label's men's tailoring campaign, shot at the Apollo Theater in Harlem. Together, they will re-open his famous studio that was shut down in 1992, and Gucci will supply him with the real thing to create some new masterpieces.

Dapper Dan in Gucci's men's tailoring campaign. Photo: Glen Luchford

Until recently, hip-hop's love for luxury fashion has been somewhat unrequited. Brands like Louis Vuitton, Gucci, Versace, Chanel and the like have stood for opulence (and have served as a marker of success) since rap's inception. But, unfortunately, the number of times a fashion house recognized their hip-hop counterparts or outwardly awarded credit where it was due is disappointingly small. During the after-party for known culture vulture Philipp Plein's NYFW runway show last week, performer Nicki Minaj made a point to call out this fact: "Thank you, Philipp Plein, for including our culture. Designers get really big and really rich off of our culture, and then you don't see a motherfucker that look anything like us in the front row half the time."

Today, fashion insiders are all but accustomed to luxury brands using a hip-hop soundtrack to accompany their runway collections (a piano version of a Travis Scott song played at the Valentino Resort 2018 show in New York) or commissioning "It" rappers to play a medley of their most popular tracks at an after-party — many of whom proceed to complain about "the racket." (The most recent examples from fashion week include Future's performance at Plein and Cardi B's after-party appearance at Alexander Wang.) What's more is that designers are creating entire collections inspired by hip-hop culture with no merit. As much as those who grew up living and breathing that culture beg and plead for diversity in fashion, the forced nature of the inclusion of hip-hop for the sake of it comes off as disingenuous.

In the spring, Tory Burch's "An American Road Trip" video campaignfeatured white models performing the viral dance set to the song "Juju On That Beat." The brand retracted the video after widespread criticism, and not only was the gaffe chills- (and laugh)-inducing, it was just another prime example of when culturally appropriating hip-hop for financial gain goes wrong. We understand it was just an innocent video trying to play to the youth by using a popular song and dance, but, at the very least, why not find a model of color — or someone who can actually dance?

Over the summer, Kendall and Kylie Jenner thought that it would be a good idea to release a line of vintage band T-shirts — including ones featuring slain hip-hop legends Notorious B.I.G. and Tupac Shakur — with the famous sisters' faces superimposed on them. This just goes to show that there definitely weren't enough people around during the decision-making process who could confidently call this out as a very bad idea (the same goes for Kendall Jenner's infamous Pepsi commercial). In addition, it's safe to assume that the top-level people making these decisions aren't clued in to urban culture (or simply dismissed it), but are trying to capitalize on hip-hop's proven selling power.

Cultural appropriation also seems to run particularly rampant in the beauty space: Valentino drew ire for the cornrows its models wore during the Spring 2016 show and in the accompanying campaign; Kylie Jenner wore a du-rag front row at New York Fashion Week in February; several designers adopted the '90s-era pierced nail trend for spring and Marc Jacobs's Spring 2017 show was marred in controversy because he featured a predominantly white cast wearing faux-dreadlocks. Less than six months later, his Fall 2017 collection was titled "Respect" and was inspired by casual urban dress, complete with chains, tracksuits, puffer jackets and Kangol-style hats. After the show, Jacobs said he watched a hip-hop documentary that "gave way to a whole new language of style," but the damage had already been done.

Hip-hop is often correlated with coolness and trendiness, but what many people don't realize is that it truly symbolizes a culture — not just that of black people — whose odds are constantly against them. The fashion industry has played a large role in the stereotyping of hip-hop, often slighting it as "too ghetto" for inclusion. This is particularly apparent when it comes to the lack of diversity on the runways. (Shoutout to Mekhi Lucky for landing a modeling contract after being discovered through a mugshot, but young black men shouldn't have to be declared "prison bae" in order to be given a chance at a career in fashion.)

Lil Yachty for Nautica. Photo: Nautica

There are some fashion brands who immediately recognize the importance of hip-hop while also being smart about how they show their appreciation for it. For example, Nautica appointed Grammy-nominated rapper and cool kid Lil Yachty as creative designer after the two were mutually feeling each other and were ready to take things to the next level. Yachty's love for the brand is only matched by his connection to youth culture, which Nautica realized was paramount to the success to their resurgence in this space. Guess has always been in tune with hip-hop culture, too, so when they tapped A$AP Rocky to help pay homage to the '90s with a collaboration, they worked hard to ensure the line's authenticity. (Rocky is also a face of Dior Homme, and frequently name-drops designer Kris Van Assche in his lyrics.) And, of course, what Kanye West has been able to establish through his Yeezy partnership with Adidas has transcended the divide between hip-hop and fashion more than arguably any other designer, despite a few missteps and poor critical reviews along the way.

At the end of the day, all of these brands understand one thing and one thing alone: hip-hop culture matters more than it ever has, and there's never been a better time to cash in on it. It is a constant driver of what people do on a daily basis and it's difficult to stay relevant if you aren't in touch with (or in front of) the culture it permeates. The true drivers of the culture today are extremely embedded in hip-hop — or, at the very least, have a keen knowledge of it — and their voices need to be heard on the ground floor to help nip inauthentic collaborations and appropriation in the bud.

Takeoff, Quavo and Offset of Migos at the 2017 Met Gala. Photo: Theo Wargo/Getty Images

This is precisely why Virgil Abloh is directing videos and creating album covers for Lil Uzi Vert while at the same time collaborating with Nike, doing seasonal collections for Off-White and is rumored to be in consideration for every vacant creative director role — including Versace and Givenchy, two of the leaders in understanding the importance of hip-hop in the luxury fashion world. Why do you think Migos have recently decided to re-try their hand at creating their own fashion line? Because they're on every red carpet (including that of the all-important Met Gala) and performing at any fashion after-party they're available for. These guys aren't waiting for brands to bring them in at the end of the discussion anymore.

It's time for these big-time corporations and conglomerates to wake up to the fact that the commoditization of hip-hop culture is being recognized early and often, so they need to bring in younger, in-tune voices — the Luka Sabbat's, Virgil Abloh's and ASAP Rocky's of the world — to help them integrate hip-hop culture in an authentic, organic way. Because, guess what? If something feels appropriative or not quite right to them, they're going to say so, straight up. Striking the right balance between luxury fashion and the culture these creatives embody is no easy task, but if streetwear, sneakers, rapper-designed merch or collaborations and continual "borrowing" from hip-hop's legacy continue to drive major profit within the industry, there are only more and more opportunities for ideas to turn terribly sour.